Grade Level or Special Area: 8th Grade Art Written by: Linda Schmale, Collegiate Academy of Colorado, Littleton,

Colorado Length of Unit: Six lessonsapproximately 15-16 50 minute periods plus one day field trip

Abstract Expressionism: Action Painting and Color Field (Jackson Pollock, Willem de Kooning, Mark Rothko and Helen Frankenthaler)

I.

ABSTRACT Students will be introduced to the Abstract Expressionism school of painting and recognize the works of some of its major artists including Jackson Pollock, Willem de Kooning, Mark Rothko, and Helen Frankenthaler. Students will place Abstract Expressionism into historical context, recognizing the influences and reactions to the movement. Students will plan, then individually and cooperatively paint large canvases in the Abstract Expressionism style and display completed paintings with Artists Statements. OVERVIEW A. Concept Objectives 1. Students recognize and use the visual arts as a language for communication. (Jefferson County, CO. Visual Arts Standard 1) 2. Students know, understand, and apply basic components of the visual arts as they solve visual problems. (JCCVAS 2) 3. Students know, understand, and apply materials, techniques, processes, and technology related to the visual arts. (JCCVAS 3) 4. Students relate the visual arts to historical, cultural, and personal heritage. (JCCVAS 4) 5. Students understand how to analyze, interpret, and evaluate the characteristics, merits, and meaning of works of art. (JCCVAS 5) 6. Students transfer knowledge within the visual arts, among other disciplines, and to lifelong learning. (JCCVAS 6) B. Content from the Core Knowledge Sequence 1. Visual Arts: Art History: Periods and Schools: Painting Since World War II (p. 190) a. Jackson Pollock and Abstract Expressionism: Painting, 1948 b. Willem de Kooning: Woman and Bicycle c. Mark Rothko: Orange and Yellow d. Helen Frankenthaler: Wales C. Content not from Core Knowledge Sequence 1. Jackson Pollock: Lavender Mist 2. Jackson Pollock: Autumn Rhythm 3. Willem de Kooning: Excavation 4. Lee Krasner: Composition, 1943 5. Helen Frankenthaler: The Bay 6. Mark Rothko: Violet, Black, Orange, Yellow, on White and Red D. Skill Objectives 1. Students will identify, interpret, and compile the visual images, themes, and ideas of the language of art. (JCCVAS 1.1) 2. Students will communicate and express themes and ideas through the use of visual images. (JCCVAS 1.2)

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3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17.

Students will evaluate the effective use of the "language of art" in communication. (JCCVAS 1.3) Students will share and present their artwork. (JCCVAS 1.4) Students will use information and resources in an ethical manner. JCCVAS 1.5) Students will identify and apply the elements of art (line, shape, form, texture, color value, space) in a variety of media. (JCCVAS 2.1) Students will identify and apply the principles of design (rhythm, movement, balance, proportion, variety, emphasis, and unity) in a variety of media. (JCCVAS 2.2) Students will use a variety of problem-solving and decision-making skills to apply basic components to a work of art. (JCCVAS 2.3) Students will identify and apply materials, techniques, processes, and technology. (JCCVAS 3.1) Students will demonstrate craftsmanship and safety practices. (JCCVAS 3.2) Students will know and use a vocabulary related to materials, techniques, processes, and technology. (JCCVAS 3.3) Students will recognize that works of art have cultural and historical similarities and differences. (JCCVAS 4.1) Students will create works of art that are influenced by various cultures, historical periods, and personal heritages. (JCCVAS 4.2) Students will identify and examine subject matter, content, techniques, and basic components within works of art. (JCCVAS 5.1) Students will analyze, interpret, and evaluate works of art based upon emotional, aesthetic, and technical criteria. (JCCVAS 5.2) Students will identify and explore meaning in works of art. (JCCVAS 5.3) Students will transfer the knowledge and skills from the visual arts to other disciplines. (JCCVAS 6.2)

III.

BACKGROUND KNOWLEDGE A. For Teachers 1. Hughes, Robert, American Visions: The Epic History of Art in America B. For Students 1. Impressionism, Post-Impressionism, Picasso, and Art Nouveau from the 7th grade Core Knowledge Scope and Sequence 2. Students should have a strong grasp of the Elements of Art and the Principles of Design. RESOURCES A. Hughes, Robert, American Visions: The Epic History of Art in America (Lessons One and Three) B. Hughes, Robert, Video: American Visions: Volume 7 The Empire of Signs (Lesson One) C. Hughes, Robert, Video: American Visions: Volume 8 The Age of Anxiety (Lesson Three) LESSONS Lesson One: Abstract Expressionism: Action Painting (three 50 minute class periods) A. Daily Objectives 1. Concept Objective(s) a. Students recognize and use the visual arts as a language for communication. (Jefferson County, CO. Visual Arts Standard 1) b. Students know, understand, and apply basic components of the visual arts as they solve visual problems. (JCCVAS 2)
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V.

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B.

C.

Students relate the visual arts to historical, cultural, and personal heritage. (JCCVAS 4) d. Students understand how to analyze, interpret, and evaluate the characteristics, merits, and meaning of works of art. (JCCVAS 5) 2. Lesson Content a. Jackson Pollock and Abstract Expressionism: Painting, 1948 b. Willem de Kooning: Woman and Bicycle c. Jackson Pollock: Lavender Mist d. Jackson Pollock: Autumn Rhythm e. Willem de Kooning: Excavation f. Lee Krasner: Composition, 1943 3. Skill Objective(s) a. Students will identify, interpret, and compile the visual images, themes, and ideas of the language of art. (JCCVAS 1.1) b. Students will identify the elements of art (line, shape, form, texture, color value, space) in a variety of media. (JCCVAS 2.1) c. Students will identify the principles of design (rhythm, movement, balance, proportion, variety, emphasis, and unity) in a variety of media. (JCCVAS 2.2) d. Students will recognize that works of art have cultural and historical similarities and differences. (JCCVAS 4.1) e. Students will identify and examine subject matter, content, techniques, and basic components within works of art. (JCCVAS 5.1) f. Students will analyze, interpret, and evaluate works of art based upon emotional, aesthetic, and technical criteria. (JCCVAS 5.2) g. Students will identify and explore meaning in works of art. (JCCVAS 5.3) Materials 1. Sketchbooks 2. Pencils, colored pencils 3. White board 4. White board markers 5. Posters/slides a. Jackson Pollock and Abstract Expressionism: Painting, 1948 b. Willem de Kooning: Woman and Bicycle c. Jackson Pollock: Lavender Mist d. Jackson Pollock: Autumn Rhythm e. Willem de Kooning: Excavation f. Lee Krasner: Composition, 1943 6. Appendix A Rubric for Daily Art in Sketchbooks, one for each student 7. Appendix B Abstract Expressionism Vocabulary worksheet, one for each student 8. Television and VCR (DVD player) 9. Video/DVD: American Visions Volume 7: The Empire of Signs, Hughes, Robert 10. Appendix C American Visions: The Empire of Signs Video notes worksheet, one per student 11. Appendix D American Visions: The Empire of Signs Video notes key Key Vocabulary 1. Symbol design, image, pattern, used to communicate or represent something 2. Primitive undeveloped, nave, untrained, savage

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Surrealism an art movement in the early twentieth century that relied on the subconscious for inspiration and images, Freuds writings were extremely important to the movement, some of its painters like Ernst and Miro painted improvised art attempting to relinquish conscious control and other like the famous Dali and Magritte painted realistic scenes that were like hallucinations 4. Abstract Expressionism an artistic movement that moved the art center of the world from Paris to New York City in the late 40s to 50s after World War II 5. Action Painting/Gesture painting whole body movement while painting, violent stokes of colors and application of paint, aggressive, covered the entire canvas, used the entire canvas as a whole 6. Automatism to do something without thinking, involuntary or unplanned, seeks to release basic instinctively creative forces from deep within the subconscious 7. Jungian a branch of psychoanalysis/therapy that grew out of the philosophy of Carl Jung, one of the ideas is of a shared human unconsciousness Procedures/Activities 1. Hand out Appendix A Rubric for Daily Art sketches in student sketchbook. 2. Display Jackson Pollock painting Painting 1948 and Willem De Kooning painting Woman and Bicycle on the board. Have students complete the daily art assignment for one of the images. 3. Hand out Appendix B. Go over the words with the students and brainstorm the definitions that the students already know and write the remaining definitions on the white board. Leave the color field painting definition blank until Lesson Three. 4. Collect definitions and sketchbook. 5. Dismiss students. 6. Next class period, repeat steps 1 and 2. Have the students complete daily on the image that they did not select on the first class period. 7. Display additional images in the Materials list. 8. Ask the students to take a few minutes and compare all the images. 9. Brainstorm on the board how the images are similar and how the images are different. Explain that all of these images are considered action paintings. 10. Explain to the students that Lee Krasner was a painter before she became Jackson Pollocks wife and for many years her art was overlooked or over shadowed by Jackson Pollocks fame. Krasner was instrumental in her support of Pollock as an artist. 11. Collect sketchbooks. 12. Dismiss students. 13. Next class period, hand out Appendix C American Visions: The Empire of Signs Video notes. 14. Play first twelve minutes of the American Visions: The Empire of Signs video/DVD to Barnett Newman. Fast-forwards three minutes to Willem De Kooning next six minutes. Pause video/DVD at critical moments for emphasis and to add additional information or allow students to fill in blanks on the video notes worksheet. 15. Discuss the video with the students. 16. Ask if they think Robert Hughes, the author and narrator of the video is correct about his assessment of the United States in the 50s and 60s. Discuss Robert Hughes place in the art world as an art critic and historian. 17. Explain to the students that they will be painting during the next two to three class periods and will need to wear or bring shoes and clothing that they can get

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paint on without getting in trouble with their parents. Consider sending a note home to the parents also explaining the painting project. 18. Collect worksheets for assessment. 19. Dismiss students. Assessment/Evaluation 1. Completion of Daily Art assignments in sketchbook Appendix A Rubric for Daily Art 2. Completion of video notes worksheet Appendix C

Lesson Two: Action! (four to five 50 minute class periods) A. Daily Objectives 1. Concept Objective(s) a. Students recognize and use the visual arts as a language for communication. (Jefferson County, CO. Visual Arts Standard 1) b. Students know, understand, and apply basic components of the visual arts as they solve visual problems. (JCCVAS 2) c. Students know, understand, and apply materials, techniques, processes, and technology related to the visual arts. (JCCVAS 3) d. Students relate the visual arts to historical, cultural, and personal heritage. (JCCVAS 4) 2. Lesson Content a. Jackson Pollock and Abstract Expressionism: Painting, 1948 b. Willem de Kooning: Woman and Bicycle 3. Skill Objective(s) a. Students will identify, interpret, and compile the visual images, themes, and ideas of the language of art. (JCCVAS 1.1) b. Students will communicate and express themes and ideas through the use of visual images. (JCCVAS 1.2) c. Students will apply the elements of art (line, shape, form, texture, color value, space) in a variety of media. (JCCVAS 2.1) d. Students will apply the principles of design (rhythm, movement, balance, proportion, variety, emphasis, and unity) in a variety of media. (JCCVAS 2.2) e. Students will use a variety of problem-solving and decision-making skills to apply basic components to a work of art. (JCCVAS 2.3) f. Students will apply materials, techniques, processes, and technology. (JCCVAS 3.1) g. Students will demonstrate craftsmanship and safety practices. (JCCVAS 3.2) h. Students will know and use a vocabulary related to materials, techniques, processes, and technology. (JCCVAS 3.3) i. Students will create works of art that are influenced by various cultures, historical periods, and personal heritages. (JCCVAS 4.2) B. Materials 1. Cans of acrylic or water soluble house paints a variety of colors (ask if parents/local businesses can donate any leftover paint from painting projects) 2. An abundance of empty coffee/ large cans for paint 3. Sticks 4. Large rocks for weights 5. House painting brushes 6. Rags

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C. D.

Scissors Unprimed canvas enough for five or six paintings 3 X 4 (36 X 48) approximate size 9. Stretcher bars precut to desired sizes 10. Staple guns 11. Staples 12. Appendix E - Rubric for Abstract Expressionism Action Painting one per student 13. Jazz music (from Core Knowledge Sequence or contemporary with the 1950s) 14. Cassette/CD player 15. Drop cloths (if painting inside) 16. Newspapers 17. Smocks/ Aprons 18. Plastic wrap 19. Rubber bands 20. Heavy-duty eye screws two per canvas 21. Heavy-duty picture hanging wire Key Vocabulary None Procedures/Activities 1. Hand out and go over Appendix E Rubric for Abstract Expressionism Action Painting. 2. Divide students into groups with four to five students. 3. Explain to the students that this will be a cooperative learning experience and that all students will have to actively participate together in order to receive full points. 4. Distribute canvases that have been pre-cut to 3 x 4 to each group of students. 5. Explain that in order to replicate Jackson Pollocks style of painting that they too will be painting on the ground/floor. 6. If the weather is pleasant take the students outside to paint, use the rocks to weigh down the unprimed canvas. Otherwise spread drop cloths out in the art room or a large room, then spread the unprimed canvas out and weigh down. 7. Supply each group of students with brushes, sticks, empty cans for paint, and rags. 8. Place the cans of acrylic house paint in a central location for students to pour into their empty cans and take back to their canvas. 9. Explain that the idea is to drip paint on to the canvas with large body movements and gestures. As they work the paint will gradually begin to layer and build up and cover the entire canvas. 10. Demonstrate on a separate piece of canvas. 11. Explain to the students that there should be a minimum amount of talking while they are painting so that there is a possibility of their subconscious coming through in their paintings. 12. While the students are painting, play jazz recordings from the 1950s to duplicate Pollacks work environment. 13. Coordinate the students movement around the canvas by assigning each student to a side of the painting and having the students move to a new side at regularly timed intervals so that every student has the opportunity to paint all around the painting. Once the students develop a rhythm allow for more spontaneity. 14. At the end of the class period have the students clean all the brushes and sticks used for painting. Cover cans of leftover paint with plastic wrap and rubber bands to prevent from drying out.

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If possible leave paintings in place to dry overnight. If not find some way of storing that works for your situation. Possibly hanging on the art room walls with newspapers or drop cloths underneath to catch any drips. 16. Dismiss students when area has been cleaned and all tools have been cleaned and put away. 17. Repeat the process over the next two to three class periods until the groups are satisfied with their painting. 18. Walk around and supervise process, make sure students are appropriate with the paint and sticks while they are painting. Determine how much time is still needed and let the students know which class period they will need to be finished by. 19. When paintings are completely dry, assemble the stretcher bars. 20. Show the groups of students how to stretch and use the staple gun to attach their canvas to the stretcher bars. 21. Starting in the middle of one side fold under raw edge and staple to the back of the stretcher bar. 22. On the opposite side, repeat step 21pulling the canvas tautly before stapling. Then repeat for top and bottom sides. 23. Returned to the first side and staple about an inch to either side of the first staple. 24. Repeat on opposite side then top and bottom. Continue in this manner until almost to the corners making sure that the canvas is being stretched tautly before stapling. 25. At corners fold tip in to make a triangle then fold sides under to make the canvas into a mitered corner and finish stapling. 26. Measure 1/3rd from the top pf the canvas on the back. Screw in heavy-duty eye screws to the inside of the stretcher bars on both sides. 27. Stretch heavy-duty picture hanging wire through the eye screws twice and twist the wire around on either side to secure the wire. 28. Paintings are now ready to be hung. 29. Dismiss class. Assessment/Evaluation 1. Appendix E Rubric for Abstract Expressionism Action Painting

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Lesson Three: Color Field quiet drama (one 50 minute class period) A. Daily Objectives 1. Concept Objective(s) a. Students recognize and use the visual arts as a language for communication. (Jefferson County, CO. Visual Arts Standard 1) b. Students know, understand, and apply basic components of the visual arts as they solve visual problems. (JCCVAS 2) c. Students relate the visual arts to historical, cultural, and personal heritage. (JCCVAS 4) d. Students understand how to analyze, interpret, and evaluate the characteristics, merits, and meaning of works of art. (JCCVAS 5) 2. Lesson Content a. Mark Rothko: Orange and Yellow b. Helen Frankenthaler: Wales c. Helen Frankenthaler: The Bay d. Mark Rothko: Violet, Black, Orange, Yellow on White and Red

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C.

D.

Skill Objective(s) a. Students will identify, interpret, and compile the visual images, themes, and ideas of the language of art. (JCCVAS 1.1) b. Students will evaluate the effective use of the "language of art" in communication. (JCCVAS 1.3) c. Students will identify the elements of art (line, shape, form, texture, color value, space) in a variety of media. (JCCVAS 2.1) d. Students will identify the principles of design (rhythm, movement, balance, proportion, variety, emphasis, and unity) in a variety of media. (JCCVAS 2.2) e. Students will recognize that works of art have cultural and historical similarities and differences. (JCCVAS 4.1) f. Students will identify and examine subject matter, content, techniques, and basic components within works of art. (JCCVAS 5.1) g. Students will analyze, interpret, and evaluate works of art based upon emotional, aesthetic, and technical criteria. (JCCVAS 5.2) h. Students will identify and explore meaning in works of art. (JCCVAS 5.3) Materials 1. Sketchbooks 2. Colored pencils/pencils 3. Appendix A Rubric for Daily Art in Sketchbook 4. Appendix B Abstract Expressionism Vocabulary Worksheet 5. Posters/ Slides: a. Mark Rothko: Orange and Yellow b. Mark Rothko: Violet, Black, Orange Yellow on White and Red c. Helen Frankenthaler: Wales d. Helen Frankenthaler: The Bay 6. Video/DVD: American Visions: Volume 8 The Age of Anxiety 7. TV with VCR or DVD player 8. Whiteboard 9. Whiteboard markers 10. Field Trip permission slips (use own schools format) one per student plus a few extras Key Vocabulary 1. Color Field painting where the paint has a flat surface quality, is very transparent, concerned with the interaction of color and seeks to create a meditative and quiet effect Procedures/Activities 1. Display Mark Rothkos Orange and Yellow, and Helen Frankenthalers Wales. 2. Have the students select one of the images for their daily art assignment, Appendix A Rubric for Daily Art in Sketchbooks. 3. Write the definition of Color Field Painting on the white board for the students to fill in on their Abstract Expressionism Vocabulary worksheet Appendix B from Lesson One. 4. When daily art is completed ask the students to brainstorm comparisons of these two images to the ones they wrote about and sketched during Lesson One. 5. Show Rothkos Violet, Black, Orange, Yellow on White and Red, and Frankenthalers The Bay. Ask the students the following questions: a. How are the two sets of images different? b. How are the sets of images similar?

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What do they think might make the Color Field paintings part of the Abstract Expressionism movement? d. How would the students describe the difference in feelings that the two sets of paintings evoke? 6. Discuss with students the Works Progress Administrations Federal Art Project. 7. Show the short clip of the video/DVD American Visions: The Age of Anxiety that concerns Helen Frankenthaler (about 15 minutes into the video). 8. Ask the students to speculate on: What Helen Frankenthalers importance is to the Abstract Expression movement? Why do the students think that the author Robert Hughes choose to include Helen Frankenthaler at a different point in the video series from the rest of the Abstract Expressionist? 9. Handout Permission Slip for the Field Trip coming up in Lesson Five. 10. Collect Sketchbooks with Daily Art assignment. 11. Collect complete Abstract Expressionism Vocabulary Worksheets. 12. Remind students to wear clothes that they can paint in for the next class period, Lesson Four. 13. Dismiss Students. Assessment/Evaluation 1. Appendix A Rubric for Daily Art in Sketchbooks 2. Appendix B Abstract Expressionism Vocabulary Worksheet

c.

Lesson Four: Soak! (three 50 minute class periods) A. Daily Objectives 1. Concept Objective(s) a. Students recognize and use the visual arts as a language for communication. (Jefferson County, CO. Visual Arts Standard 1) b. Students know, understand, and apply basic components of the visual arts as they solve visual problems. (JCCVAS 2) c. Students know, understand, and apply materials, techniques, processes, and technology related to the visual arts. (JCCVAS 3) d. Students relate the visual arts to historical, cultural, and personal heritage. (JCCVAS 4) 2. Lesson Content a. Mark Rothko: Orange and Yellow b. Helen Frankenthaler: Wales 3. Skill Objective(s) a. Students will communicate and express themes and ideas through the use of visual images. (JCCVAS 1.2) b. Students will apply the elements of art (line, shape, form, texture, color value, space) in a variety of media. (JCCVAS 2.1) c. Students will apply the principles of design (rhythm, movement, balance, proportion, variety, emphasis, and unity) in a variety of media. (JCCVAS 2.2) d. Students will use a variety of problem-solving and decision-making skills to apply basic components to a work of art. (JCCVAS 2.3) e. Students will apply materials, techniques, processes, and technology. (JCCVAS 3.1) f. Students will demonstrate craftsmanship and safety practices. (JCCVAS 3.2) g. Students will know and use a vocabulary related to materials, techniques, processes, and technology. (JCCVAS 3.3)

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h. B.

Students will create works of art that are influenced by various cultures, historical periods, and personal heritages. (JCCVAS 4.2)

C. D.

Materials 1. Cans of acrylic or water soluble house paints a variety of colors (ask if parents/local businesses can donate any leftover paint from painting projects) 2. An abundance of empty coffee/ large cans for paint 3. Sticks 4. Large rocks for weights 5. House painting brushes 6. Rags 7. Scissors 8. Unprimed canvas enough for each student to 18 X 24 to 24 X 36 approximate size 9. Stretcher bars precut to desired sizes 10. Staple guns 11. Staples 12. Appendix F - Rubric for Abstract Expressionism - Color Field Painting one per student 13. Classical or Jazz music (from Core Knowledge Sequence or contemporary with the 1950s) 14. Cassette/CD player 15. Drop cloths (if painting inside) 16. Water 17. Newspapers 18. Smocks/ Aprons 19. Plastic wrap 20. Rubber bands 21. Heavy-duty eye screws two per canvas 22. Heavy-duty picture hanging wire Key Vocabulary None Procedures/Activities 1. Have students individually choose which artist, Frankenthaler or Rothko, they will attempt to emulate. 2. Hand out Appendix F Rubric for Abstract Expressionism Color Field Painting and go over the parameters of the rubric with students. 3. Distribute an 18 x 24 to 24 x 36 piece of unprimed canvas to each student. 4. Have each student work on a thick pad of newspapers to catch excess paint that flows off the canvas. 5. Explain to the students that there should be a minimum amount of talking while they are painting so that again there is a possibility of their subconscious coming through in their paintings. 6. While the students are painting, play classical or jazz recordings from the 1950s. 7. Have the students use water to thin down the paint to a transparent state before painting. Students should apply paint by pouring onto the canvas and allowing and directing the way the paint soaks into the canvas and bleeds into other colors. 8. At the end of the class period have the students clean all the brushes used for painting. Cover cans of leftover paint with plastic wrap and rubber bands to prevent from drying out. Used newspapers should be discarded.

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If possible leave paintings in place to dry overnight. If not find some way of storing that works for your situation. Possibly hanging on the art room walls with newspapers or drop cloths underneath to catch any drips. 10. Dismiss students when area has been cleaned and all tools have been cleaned and put away. 11. Repeat the process over the next two class periods until the students are satisfied with their painting. 12. Walk around and supervise process, make sure students are appropriate with the paint while they are painting. 13. When paintings are completely dry, assemble the stretcher bars. 14. Repeat the directions for stretching the canvas from Lesson Two, steps 21 through 27. 15. Paintings are ready to be hung. 16. Dismiss class. Assessment/Evaluation 1. Appendix F Abstract Expressionism Color Field Painting

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Lesson Five: Fieldtrip (one day four to five hours) A. Daily Objectives 1. Concept Objective(s) a. Students recognize and use the visual arts as a language for communication. (Jefferson County, CO. Visual Arts Standard 1) b. Students know, understand, and apply basic components of the visual arts as they solve visual problems. (JCCVAS 2) c. Students know, understand, and apply materials, techniques, processes, and technology related to the visual arts. (JCCVAS 3) d. Students relate the visual arts to historical, cultural, and personal heritage. (JCCVAS 4) e. Students understand how to analyze, interpret, and evaluate the characteristics, merits, and meaning of works of art. (JCCVAS 5) 2. Lesson Content a. Jackson Pollock and Abstract Expressionism: Painting, 1948 b. Willem de Kooning: Woman and Bicycle c. Mark Rothko: Orange and Yellow d. Helen Frankenthaler: Wales 3. Skill Objective(s) a. Students will identify, interpret, and compile the visual images, themes, and ideas of the language of art. (JCCVAS 1.1) b. Students will use information and resources in an ethical manner. JCCVAS 1.5) c. Students will identify the elements of art (line, shape, form, texture, color value, space) in a variety of media. (JCCVAS 2.1) d. Students will identify the principles of design (rhythm, movement, balance, proportion, variety, emphasis, and unity) in a variety of media. (JCCVAS 2.2) e. Students will know and use a vocabulary related to materials, techniques, processes, and technology. (JCCVAS 3.3) f. Students will recognize that works of art have cultural and historical similarities and differences. (JCCVAS 4.1) g. Students will identify and examine subject matter, content, techniques, and basic components within works of art. (JCCVAS 5.1)

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h. B.

Students will analyze, interpret, and evaluate works of art based upon emotional, aesthetic, and technical criteria. (JCCVAS 5.2)

C. D.

E.

Materials 1. Buses 2. Parent volunteers (check your Art Museums requirements) 3. Additional Teachers 4. First Aid kit 5. Cellular phone 6. Museum floor plan one per each volunteer 7. Appendix G Art Museum Notes - one per student 8. Pencils/pens 9. Signed permission slips from every student attending Field Trip Key Vocabulary None Procedures/Activities 1. Check that all students have returned permission slips. 2. Brief the parent volunteers about any museum etiquette that may be applicable to your particular museum. Distribute floor plans of the museum and lists of students assigned to each volunteer. Coordinate times for lunch and for boarding the buses to return to the school. 3. Introduce the volunteers to the students and read off the group assignments. 4. Remind students that they need to stay with their volunteer at all times. If they need to use the restroom the student needs to ask the parent volunteer for permission. 5. Hand out Appendix G Art Museum Notes to each student and review the assignment. Most museums only allow students to draw artworks that are owned by the museum due to copyright laws, so for their assignment it is important to make sure the artwork selected for the assignment is owned by the museum. 6. Remind the students about expectations that their behavior will be respectful and polite. Caution the students about not getting too close to artwork so that they do not set off any alarms. 7. Load students on buses. Take a head count. 8. Enjoy the museum with the students and the volunteers. 9. Circulate through out the museum making sure that the students are appropriate at all times. Help any students with the assignment. 10. Break for lunch at agreed time. Check in with volunteers to make sure everything is going all right. Take a head count. 11. Return to the museum to finish tours. 12. Board buses to return to school, taking a head count before leaving museum. 13. Collect assignments. 14. Dismiss students. Assessment/Evaluation 1. Appendix G Art Museum Notes

Lesson Six: Critique, Display and Final Exam (four 50 minute class periods) A. Daily Objectives 1. Concept Objective(s) a. Students recognize and use the visual arts as a language for communication. (Jefferson County, CO. Visual Arts Standard 1) b. Students know, understand, and apply materials, techniques, processes, and technology related to the visual arts. (JCCVAS 3)

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B.

C. D.

Students understand how to analyze, interpret, and evaluate the characteristics, merits, and meaning of works of art. (JCCVAS 5) d. Students transfer knowledge within the visual arts, among other disciplines, and to lifelong learning. (JCCVAS 6) 2. Lesson Content a. Jackson Pollock and Abstract Expressionism: Painting, 1948 b. Willem de Kooning: Woman and Bicycle c. Mark Rothko: Orange and Yellow d. Helen Frankenthaler: Wales 3. Skill Objective(s) a. Students will identify, interpret, and compile the visual images, themes, and ideas of the language of art. (JCCVAS 1.1) b. Students will communicate and express themes and ideas through the use of visual images. (JCCVAS 1.2) c. Students will evaluate the effective use of the "language of art" in communication. (JCCVAS 1.3) d. Students will share and present their artwork. (JCCVAS 1.4) e. Students will demonstrate craftsmanship and safety practices. (JCCVAS 3.2) f. Students will know and use a vocabulary related to materials, techniques, processes, and technology. (JCCVAS 3.3) g. Students will analyze, interpret, and evaluate works of art based upon emotional, aesthetic, and technical criteria. (JCCVAS 5.2) h. Students will identify and explore meaning in works of art. (JCCVAS 5.3) i. Students will transfer the knowledge and skills from the visual arts to other disciplines. (JCCVAS 6.2) Materials 1. Nails 2. Picture Hangers 3. Hammers 4. Levels 5. Staplers and staples 6. Glue sticks or tape to fasten artist statements to the mat board 7. Assess to computers for word processing 8. Printer 9. Mat board 10. Paper cutter or mat cutters 11. Examples of Artist Statements (optional) 12. Appendix H Rubric for Self /Teacher Critique, one per student 13. Final Exam Appendix I, one per student 14. Pencil Key Vocabulary 1. Artist Statement a statement the helps the viewer to gain insight or knowledge about the intent of the artist or the artwork Procedures/Activities 1. Introduce the concept of an Artists Statement. 2. Discuss the different ways that artists statements are used. 3. Have the students write a first draft of an artists statement. 4. Team students up to help edit the first drafts of the artists statements. 5. Collect edited versions from the students.

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E.

Tour the school together and discuss possible locations for hanging the different pieces of artwork. 7. Work out a map to help students remember where to place their paintings. 8. Demonstrate how to hammer the nail and picture hanger into the wall. 9. Show the students how to use the level to make sure the painting is even. 10. Return to classroom and dismiss students. 11. Return the artist statements to the students after the checking their editing. 12. Use computers to type final artists statements. 13. Crop excess paper from the artists statements. 14. Cut a piece of mat board 1 to 2on all sides larger than the cropped artists statement. 15. Use a glue stick or tape to attach the artists statement evenly to the mat board to be displayed by the Action paintings and Color Field paintings. 16. Collect completed Artists Statements. 17. Dismiss students. 18. Supervise students as they hang their artwork through out the school. 19. Have the students staple the Artists Statements to the wall around their painting in an aesthetically pleasing manner. 20. Hand out Appendix H Rubric for Self/Teacher Critique. 21. Have the students complete the student portion of the critique. 22. Collect the critiques. 23. Review information for the Final Exam Appendix I 24. Dismiss students. 25. Hand out Appendix I Final Exam 26. Collect when completed or at the end of class. 27. Dismiss students. Assessment/Evaluation 1. Appendix H Rubric for Self/Teacher Critique 2. Appendix I - Final Exam

6.

VI.

CULMINATING ACTIVITY A. Final Exam - Appendix I B. Display of Abstract Expressionist paintings through out school. C. Auction group paintings as a fundraiser at school carnival (optional). HANDOUTS/WORKSHEETS A. Appendix A: Rubric For daily Art in Sketchbooks B. Appendix B: Abstract Expressionism Vocabulary work sheet C. Appendix C: American Visions: The Empire of Signs Video notes Worksheet D. Appendix D: American Visions: The Empire of Signs Video notes Key E. Appendix E: Rubric for Abstract Expressionism: Action Painting F. Appendix F: Rubric for Abstract Expressionism: Color Field Painting G. Appendix G: Field Trip Notes H. Appendix H: Rubric for Self-critique I. Appendix I: Final Exam J. Appendix J: Final Exam Key (matching artist to artwork section) BIBLIOGRAPHY A. Adams, Laurie Schneider, Art Across Time: Volume II, McGraw-Hill College, New York, 1999, ISBN 0697274802

VII.

VIII.

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B. C. D. E. F. G. H. I. J. K. L. M. N. O. P. Q. R.

Artcyclodepia. Artists by Movement: Abstract Expressionism, Date of Access: 7/10/03, http://artcyclopedia.com/history/abstract-expresionism.html Bailey, Susan, The Essential History of American Art, Parragon Publishing, Bath, UK, 2002, ISBN 0752553550 Encyclopedia: 1up Info, Abstract Expressionism, Columbia University Press, 2003, Date of Access 8/2/03, http://www.1upinfo.com/encyclopedia/A/abstrexp.html Encyclopedia: 1up Info, De Kooning, Willem, Columbia University Press, 2003, Date of Access 8/2/03, http://www.1upinfo.com/encyclopedia/D/deKoonin.html Encyclopedia: 1up Info, Frankenthaler, Helen, Columbia University Press, 2003, Date of Access 8/2/03, http://www.1upinfo.com/encyclopedia/F/Frankent.html Encyclopedia: 1up Info, Pollock, Jackson, Columbia University Press, 2003, Date of Access 8/2/03, http://www.1upinfo.com/encyclopedia/P/PollockJ.html Encyclopedia: 1up Info, Rothko, Mark, Columbia University Press, 2003, Date of Access 8/2/03, http://www.1upinfo.com/encyclopedia/R/Rothko-M.html Hughes, Robert, American Visions: The Epic History of Art in America, Alfred A. Knopf, 1997, ISBN 0679426272 Hughes, Robert, Video: American Visions: Volume 7 The Empire of Signs, PBS Home Video, New York, 1996, ISBN 0780618181 Hughes, Robert, Video: American Visions: Volume 8 The Age of Anxiety, PBS Home Video, New York, 1996 ISBN 078061819X Image, Rothko, Mark: Orange and Yellow, Date of Access 8/5/03, http://www.poster.net/rothko/rot1507.jpg Landau, Ellen G., Jackson Pollock, Abradale Press, Harry N. Abrams, Inc., New York, 1989, ISBN 0810937026 Lanoue, Aimee, (Heller, Nancy G., Women Artists: An Illustrated History, Abbeville Press, 1991) Aimees Helen Frankenthaler Gallery, Date of Access 8/5/03, http://www.stfrancis.edu.en/student/beatart/frank.htm Ottmann, Klaus, The Essential Mark Rothko, Harry N. Abrams, Inc., New York, 2003, ISBN 0810958260 Strickland, Carol, The Annotated Mona Lisa, Andrews and McMeel, Kansas City, Missouri, 1996 ISBN 0836280059 21 Abstract Expressionist Artists: about William (sic) de Kooning date of Access 7/10/03, http://www.asartfoundation.org/de%20KOONING.htm Venezia, Mike, Jackson Pollock, Childrens Press Chicago, 1994, ISBN 0516422987

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Appendix A

Rubric for Daily Art Sketches in Student Sketchbook

Unsatisfactory
(1 point)

Partially Proficient
(2 points)

Proficient
(3 points)

Advanced
(4 points)

Todays Date Title of Artwork: if unknown write - UNTITLED Artists name Four complete sentences that describe each artwork: Use Elements and Principles for support. A sketch of each artwork size minimum 5 x 5 Total Points

/20

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Appendix B Abstract Expressionism Vocabulary Worksheet Name ________________________________ Class ________________________________ Date _________________________________ Define the following words or phases using complete sentences. 1. Automatism - ________________________________________________________________ ______________________________________________________________________________ 2. Surrealism - _________________________________________________________________ ______________________________________________________________________________ 3. Action Painting - _____________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ 4. Color Field Painting - __________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ 5. Abstract Expressionism - _______________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________

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Appendix C Video Notes American Visions: The Empire of Signs, Robert Hughes Name ________________________ Class _________________________ Date __________________________ Directions: Fill in the blanks with words or short phases as you watch the video. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. What was the name of the artistic movement that included Jackson Pollock, Willem De Kooning, Mark Rothko, Robert Motherwell and Barnett Newman? ________________________________________ What two words did Greenberg use to describe them? ___________And______________________________ Name the artistic movement that influenced them. _______________________________________________________ Where was Jackson Pollock born? ___________________________ What famous cubist artist influenced Pollock? __________________ What type of Native American art did Pollock like? ______________ Where did Pollock like to paint his canvases? ___________________ Jackson Pollock liked to paint his canvases where he painted them because it allowed him to ______in the_________________________. Jungian analysis that Pollock explored helps him to focus on the p________________. What was Pollock nicknamed? _______________________________ Pollock achieved what in his abstract paintings? __________________ In what year did Life magazine feature Pollock? __________________ How old was Pollock when he died? ____________________________ How did Pollock die? ________________________________________ Why did Mark Rothko consider Jackson Pollock influential to the American art scene? ____________________________________________________________ What did Mark Rothkos abstract paintings explore? _________________ How did Mark Rothko die? ____________________________________ What year did Rothko die? _____________________________________ What was the subject that kept appearing in Willem De Koonings Abstract paintings? ___________________________________________ What part of the womans body did Willem De Kooning find to be a point of reference in his paintings? _____________________________ Who was annoyed that De Koonings paintings were not more abstract? _________________________ What was De Kooning nationality? _______________________________ What kind of art training did De Kooning receive? ___________________ How did this art training influence his paintings? ____________________

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Appendix D Video Notes - Key American Visions: The Empire of Signs, Robert Hughes 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. What was the name of the artistic movement that included Jackson Pollock, Willem De Kooning, Mark Rothko, Robert Motherwell and Barnett Newman? Abstract Expressionism What two words did Greenberg use to describe them? Isolated and Lonely Name the artistic movement that influenced them. Surrealism Where was Jackson Pollock born? Wyoming What famous cubist artist influenced Pollock? Picasso What type of Native American art did Pollock like? Navajo Sand Paintings Where did Pollock like to paint his canvases? On the floor Jackson Pollock liked to paint his canvases where he painted them because it allowed him to _be in the painting_. Jungian analysis that Pollock explored helps him to focused on the Primal or Primitive. What was Pollock nicknamed? Jack the dripper Pollock achieved what in his abstract paintings? Balance In what year did Life magazine feature Pollock? 1949 How old was Pollock when he died? 44 years old How did Pollock die? In a car accident that also killed one of the other occupants in the car Why did Mark Rothko consider Jackson Pollock influential to the American art scene? Jackson Pollock was considered influential because he broke the ice. What did Mark Rothkos abstract paintings explore? Color How did Mark Rothko die? He committed suicide. What year did Rothko die? 1970 What was the subject that kept appearing in Willem De Koonings Abstract paintings? The human body What part of the womans body did Willem De Kooning find to be a point of reference in his paintings? The female mouth Who was annoyed that De Koonings paintings were not more abstract? Art critics What was De Koonings nationality? He was a Dutchman What kind of art training did De Kooning receive? Formal, focused on the masters and the human body. How did this art training influence his paintings? It was part of the reason that the nude kept appearing in his paintings.

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Appendix E Rubric for Abstract Expressionism Action Painting Your name_____________________ Class _________________________ Date__________________________ List names of students in your group: ______________ ______________ ______________ ______________ ______________ ______________ Group worked cooperatively, sharing all responsibilities, including clean up. Paint is applied from all angles. Painting applied in a gestured manner. Jackson Pollock influence is apparent. Canvas is stretched evenly to stretcher bars. Total Points Unsatisfactory
(1 point)

Partially Proficient
(2 points)

Proficient
(3 points)

Advanced
(4 points)

/20

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Appendix F Rubric for Abstract Expressionism Field Painting Name___________________________ Class ___________________________ Date____________________________

Unsatisfactory
(1 point)

Partially Proficient
(2 points)

Proficient
(3 points)

Advanced
(4 points)

Paint applied in a flowing, fluid and transparent manner. Frankenthaler or Rothko influence is evident. Strong use of color Canvas is stretched evenly to stretcher bars. Student displays craftsmanship and cleaned up all materials used. Total Points

/20

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Appendix G Art Museum Field Trip Notes Name: _________________________ Class: _______________ Date: _______________ Directions: Find the Contemporary Art floor/wing of your museum. Answer the following questions in complete sentences. Locate two different styles of painting that are Abstract. List the following: Painting #1: Artist____________________ Title _____________________ Paintings Date_____________ Describe the painting in as much detail as possible then compare and contrast the painting to the Abstract Expressionism movement. Include in your description the dominant Elements of art and Principles of design, and whether the image is abstracted from an identifiable subject. _______________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Sketch painting on reverse side. Painting #2: Artist____________________ Title _____________________ Paintings Date_____________ Describe the painting in as much detail as possible then compare and contrast the painting to the Abstract Expressionism movement. Include in your description the dominant Elements of art and Principles of design, and whether the image is abstracted from an identifiable subject. _______________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Sketch painting on reverse side.

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Appendix H Rubric for Self Critique/Teacher Critique Name________________ Class ________________ Date _________________ Critique Student Unsatisfactory
(1 point)

Student Partially Proficient

(2 points)

Student Critique Proficient

(3 points)

Student Advanced
(4 points)

Teacher Unsatisfactory to Advanced

(1-4points)

Action Painting Completed Color Field Painting Completed Artist Statementexplanation clear and concise Display of artwork even, uncluttered, pleasing aesthetically Worked cooperatively with other students to hang display of artworks Total Points

/20

/20

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Appendix I, page 1 Final Exam Abstract Expressionism Name_________________________ Class _________________________ Date __________________________

Essay Question: Use complete sentences (50 points)

Describe the differences and similarities of Action Painting and Color Field Painting, using the works of Jackson Pollock and Helen Frankenthaler. Have posters of the two artists work side by side on the white board for students to view during the exam. ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________

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Appendix I, page 2 Final Exam

Match the art works with the correct Artist (2 points each)
1. _____ Woman and Bicycle 2. _____ Autumn Rhythm, 1950 3. _____Wales 4. _____ Orange and Yellow 5. _____ The Bay 6. _____ Lavender Mist, 1950 7. _____ Excavation, 1950 8. _____ Painting, 1948 9. _____ Composition, 1943 10. ____ Violet, Black, Orange, Yellow on White and Red A. B. C. D. E. Jackson Pollock Helen Frankenthaler Mark Rothko Willem de Kooning Lee Krasner

Short Answer: (15 points each)

1. How did the surrealism movement influence the abstract expressionism movement? ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________

2. What was the intent of the Works Progress Administrations Federal Art Project, its impact on American art, and which President established it? ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________

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Appendix J Final Exam Key

Essay Question: Use complete sentences (50 points)

Describe the differences and similarities of Action Painting and Color Field Painting, using the works of Jackson Pollock and Helen Frankenthaler. Have posters of the two artists work side by side on the white board for students to view during the exam. Answers should include the following:
Abstract Expressionism was an artistic movement that moved the art center of the world from Paris to New York City in the late 40s to 50s after World War II. It was characterized by two different styles. First, there are the Action /Gesture paintings best seen in the paintings of Jackson Pollack. The style used whole body movement while painting, violent stokes of colors and application of paint, aggressive, covered the entire canvas, and uses the entire canvas as a whole. In contrast the Color Field paintings are best exemplified by the work of Helen Frankenthaler, where the paint has a flat surface quality, is very transparent, concerned with the interaction of color and seeks to create a meditative and quiet effect.

Match the Artwork to Artist section 1. D 6. 2. A 7. 3. B 8. 4. C 9. 5. B 10.

A D A E C

Short Answer: (15 points each)

1. How did the surrealism movement influence the abstract expressionism movement? Answers should include the following:
Surrealism was an art movement in the early twentieth century that relied on the subconscious for inspiration and images, Freuds writings were extremely important to the movement, some of its painters like Ernst and Miro painted improvised art attempting to relinquish conscious control and other like the famous Dali and Magritte painted realistic scenes that were like hallucinations. Jackson Pollack and his contemporaries were greatly influenced by the writing of Freud and the artwork of Dali and Magritte. Jackson Pollack also spent time undergoing Jungian analysis.

2. What was the intent of the Works Progress Administrations Federal Art Project, its impact on American art, and which President established it? Answers should include the following: Under the Federal Works Progress Administrations Federal Art Project was created by the Franklin D. Roosevelt government. It created relief work for workers suffering from unemployment during the Depression. People employed in the creative industries such as actors, writers, and artists were considered productive workers and therefore deserving of relief work. This lead to thousands (3,750) of artists commissioned to create public art works throughout the country (15,660 works of which 700 were murals). Once a worker established him/herself as an artist he/she was then paid weekly plumbers wages and turned loose to produce a new piece of art that was turned in every 4 6 weeks and then displayed in an exhibition or at a government building. Jackson Pollock was one of many artists who benefited from the Project.

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